‘About Us | Forced Entertainment’. n.d. https://www.forcedentertainment.com/about/.
Abramovic, Marina, and Klaus Peter Biesenbach. 2010. Marina Abramovic: The Artist Is Present. Museum of Modern Art.
Auslander, Philip. 2006a. ‘The Performativity of Performance Documentation’. PAJ: A Journal of Performance and Art 28 (3): 1–10. https://doi.org/10.1162/pajj.2006.28.3.1.
Auslander, Philip. 2006b. ‘The Performativity of Performance Documentation’. PAJ: A Journal of Performance and Art 28 (3): 1–10. https://doi.org/10.1162/pajj.2006.28.3.1.
Auslander, Philip. 2008a. Liveness: Performance in a Mediatized Culture. Routledge. Electronic book.
Auslander, Philip. 2008b. Liveness: Performance in a Mediatized Culture. Routledge. Electronic book.
Auslander, Philip. 2008c. Liveness: Performance in a Mediatized Culture. 2nd Edition. Routledge.
Auslander, Philip. 2008d. Liveness: Performance in a Mediatized Culture. 2nd Edition. Routledge.
Banes, Sally, and Andre Lepecki. 2007. The Senses in Performance. Routledge.
Bishop, Claire. 2006. Participation. Whitechapel.
Bleeker, Maaike. 2008a. Visuality in the Theatre: The Locus of Looking. Palgrave Macmillan.
Bleeker, Maaike. 2008b. Visuality in the Theatre: The Locus of Looking. Palgrave Macmillan. Electronic resource. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780230583368.
Bleeker, Maaike, Adrian Kear, Joe Kelleher, and Heike Roms, eds. 2019a. Thinking through Theatre and Performance. Bloomsbury Methuen Drama. Electronic resource. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.
Bleeker, Maaike, Adrian Kear, Joe Kelleher, and Heike Roms, eds. 2019b. Thinking through Theatre and Performance. Bloomsbury Methuen Drama. Electronic resource. https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.
Burden, Chris. n.d. ‘Shoot | Media Art Net’. https://web.archive.org/web/20250514210034/http://www.medienkunstnetz.de/works/shoot/.
Carlson, Marvin. 2004a. Performance: A Critical Introduction. Routledge. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153.
Carlson, Marvin. 2004b. Performance: A Critical Introduction. Routledge. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315016153.
Carlson, Marvin. 2004c. Performance: A Critical Introduction. 2nd ed. Routledge.
Carlson, Marvin. 2004d. Performance: A Critical Introduction. 2nd ed. Routledge.
‘Catalogue - Live Art Development Agency’. n.d. https://www.thisisliveart.co.uk/resources/search/.
Chrysochou, Panayiota. 2017. Performing Identity and Gender in Literature, Theatre and the Visual Arts. Cambridge Scholars Publishing. Electronic resource. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4820227.
Concannon, Kevin. 2008. ‘Yoko Ono’s Cut Piece : From Text to Performance and Back Again’. Journal Of Performance And Art 30 (3): 81–93. https://librarysearch.royalholloway.ac.uk/permalink/f/vavv8/TN_jstor_archive_330135150.
DeFrantz, Thomas, and Anita Gonzalez. 2014a. Black Performance Theory. Electronic book. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1666607.
DeFrantz, Thomas, and Anita Gonzalez, eds. 2014b. Black Performance Theory. Duke University Press.
Etchells, Tim. 1999a. ‘Introduction: Performing Questions, Producing Witnesses’. In Certain Fragments: Contemporary Performance and Forced Entertainment. Routledge.
Etchells, Tim. 1999b. ‘Introduction: Performing Questions, Producing Witnesses’. In Certain Fragments: Contemporary Performance and Forced Entertainment, 1st ed. Routledge. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=166451.
Finbow, Acatia. 2018. ‘Multiplicity in the Documentation of Performance-Based Artworks: Displaying Multi-Media Documentation in Rebecca Horn’s Body Sculptures at Tate’. Journal of New Music Research 47 (4): 291–99. https://doi.org/10.1080/09298215.2018.1486432.
Friedman, Andrew. 2015. ‘Kindertotenlieder Created by Gisèle Vienne’. Theatre Journal 67 (2): 319–20. https://doi.org/10.1353/tj.2015.0058.
Giannachi, Gabriella, and Jonah Westerman, eds. 2018a. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Routledge.
Giannachi, Gabriella, and Jonah Westerman, eds. 2018b. Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. Routledge, Taylor & Francis Group. https://www.taylorfrancis.com/books/9781315645384.
‘Gisèle Vienne: Disturbance in Representation - Dansens Hus’. n.d. https://www.dansenshus.com/en/articles/om-forestillingen-crowd.
Goldberg, RoseLee. 1998. Performance: Live Art Since the 60s. Thames & Hudson.
Goldberg, RoseLee. 2011a. Performance Art: From Futurism to the Present. 3rd Edition. Thames & Hudson.
Goldberg, RoseLee. 2011b. Performance Art: From Futurism to the Present. 3rd Edition. Thames & Hudson.
Grehan, Helena. 2009. Performance, Ethics and Spectatorship in a Global Age. Palgrave Macmillan.
Guy, Georgina. 2012. ‘“NOTES on a Return” to a Not-Forgotten: Durations of the Missed and the Previously Unvisited’. Performance Research 17 (5): 135–39. https://doi.org/10.1080/13528165.2012.728455.
Guy, Georgina. 2016a. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. Routledge.
Guy, Georgina. 2016b. Theatre, Exhibition, and Curation: Displayed & Performed. Vol. 46. Routledge. Electronic book. http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719.
Heathfield, Adrian. 2000. Small Acts: Performance, the Millennium and the Marking of Time. Black Dog.
Heathfield, Adrian, and Hugo Glendinning. 2004a. Live: Art and Performance. Tate.
Heathfield, Adrian, and Hugo Glendinning. 2004b. Live: Art and Performance. Tate.
Heathfield, Adrian, and Hugo Glendinning. 2004c. Live: Art and Performance. Tate.
Heathfield, Adrian, and Tehching Hsieh. 2009a. ‘Impress of Time’. In Out of Now: The Lifeworks of Tehching Hsieh. Live Art Development Agency.
Heathfield, Adrian, and Tehching Hsieh. 2009b. Out of Now: The Lifeworks of Tehching Hsieh. Live Art Development Agency.
Heddon, Deirdre, and Jennie Klein, eds. 2012. Histories and Practices of Live Art. Palgrave Macmillan.
Hoffmann, Jens, and Joan Jonas. 2005. Perform. Thames & Hudson.
Jaimangal-Jones, Dewi, Annette Pritchard, and Nigel Morgan. 2015. ‘Exploring Dress, Identity and Performance in Contemporary Dance Music Culture’. Leisure Studies 34 (5): 603–20. https://doi.org/10.1080/02614367.2014.962580.
Johnson, Dominic. 2012a. ‘Introduction: The What, When and Where of Live Art’. Contemporary Theatre Review 22 (1): 4–16. https://doi.org/10.1080/10486801.2012.651360.
Johnson, Dominic. 2012b. ‘Introduction: The What, When and Where of Live Art’. Contemporary Theatre Review 22 (1): 4–16. https://doi.org/10.1080/10486801.2012.651360.
Johnson, Dominic. 2012c. Theatre & The Visual. Palgrave Macmillan.
Johnson, Dominic, ed. 2014. Critical Live Art: Contemporary Histories of Performance in the UK. Routledge.
Jones, Amelia. 1997a. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56 (4). https://doi.org/10.2307/777715.
Jones, Amelia. 1997b. ‘“Presence” in Absentia: Experiencing Performance as Documentation’. Art Journal 56 (4). https://doi.org/10.2307/777715.
Jones, Amelia. 1998a. Body Art/Performing the Subject. University of Minnesota Press.
Jones, Amelia. 1998b. ‘Introduction’. In Body Art/Performing the Subject. University of Minnesota Press.
Jones, Amelia. 2011. ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’. TDR/The Drama Review 55 (1): 16–45. https://doi.org/10.1162/DRAM_a_00046.
Jones, Amelia, and Adrian Heathfield. 2012. Perform, Repeat, Record: Live Art in History. Intellect.
Kaye, Nick. 2000a. Site-Specific Art: Performance, Place, and Documentation. Routledge.
Kaye, Nick. 2000b. Site-Specific Art: Performance, Place, and Documentation. Routledge. Electronic book.
Kelleher, Joe. 2015a. ‘Everybody Acts (On Friendship)’. In The Illuminated Theatre: Studies on the Suffering of Images. Routledge.
Kelleher, Joe. 2015b. The Illuminated Theatre: Studies on the Suffering of Images. Routledge.
‘Leap into the Void’. n.d. https://www.metmuseum.org/toah/works-of-art/1992.5112/.
‘Live Art in the UK: Lois Keidan Interview with British Library (Parts 1 and 2)’. n.d. http://www.thisisliveart.co.uk/blog/live-art-in-the-uk-lois-keidan-interview-with-british-library/.
MacRitchie, Lynn. 1996. ‘Marina Abramovic: Exchanging Energies’. Performance Research 1 (2): 27–34. https://doi.org/10.1080/13528165.1996.10871487.
‘“One Year Performance1980-1981”, Tehching Hsieh, 1980-1 | Tate’. n.d. https://www.tate.org.uk/art/artworks/hsieh-one-year-performance1980-1981-t13875.
Phelan, James, and Peter J. Rabinowitz. 2005. A Companion to Narrative Theory. Blackwell. Electronic book. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=243554.
Phelan, James, and Peter J. Rabinowitz. 2008. A Companion to Narrative Theory. Blackwell.
Phelan, Peggy. 1992. Unmarked: The Politics of Performance. Routledge. Electronic book. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272.
Phelan, Peggy. 1993. Unmarked: The Politics of Performance. Routledge.
Phelan, Peggy. 2004. ‘Marina Abramovic: Witnessing Shadows’. Theatre Journal 56 (4): 569–77. https://doi.org/10.1353/tj.2004.0178.
Phelan, Peggy. 2012. Live Art in LA: Performance in Southern California, 1970-1983. 1st Edition. Routledge.
Rancière, Jacques. 2004. The Politics of Aesthetics: The Distribution of the Sensible. Continuum.
Read, Alan. 2014. Theatre in the Expanded Field. Bloomsbury Publishing. http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137.
Read, Alan, and Beryl Robinson. 2013. Theatre in the Expanded Field: Seven Approaches to Performance. Bloomsbury.
Sayre, Henry M. 1992. The Object of Performance: The American Avant-Garde Since 1970. New ed. The University of Chicago Press.
Schmidt, Theron, ed. 2019a. ‘Bodies: Introduction’. In AGENCY: A Partial History of Live Art. Intellect.
Schmidt, Theron, ed. 2019b. ‘Bodies: Introduction’. In Agency: A Partial History of Live Art. Intellect. Electronic resource. https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5748642.
Schneemann, Carolee, and Bruce R. McPherson. 1997. More Than Meat Joy: Performance Works and Selected Writings. 2nd ed. McPherson & Co.
Schneider, Rebecca. 1997a. The Explicit Body in Performance. Routledge.
Schneider, Rebecca. 1997b. The Explicit Body in Performance. Routledge.
Schneider, Rebecca. 1997c. The Explicit Body in Performance. 1st ed. Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.
Schneider, Rebecca. 1997d. The Explicit Body in Performance. 1st ed. Taylor and Francis. http://ebookcentral.proquest.com/lib/rhul/detail.action?docID=170366.
Schneider, Rebecca. 2011a. Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge.
Schneider, Rebecca. 2011b. Performing Remains: Art and War in Times of Theatrical Reenactment. Routledge. Electronic book. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786.
Shalson, Lara. 2012. ‘On Duration and Multiplicity’. Performance Research 17 (5): 98–106. https://doi.org/10.1080/13528165.2012.728448.
Shalson, Lara. 2018. ‘Chapter 3 Enduring Life’. In Performing Endurance: Art and Politics since 1960. Cambridge University Press. Electronic resource.
Solga, Kim. 2016a. Theatre & Feminism. Palgrave, an imprint of Macmillan Publishers.
Solga, Kim. 2016b. Theatre & Feminism. Palgrave Macmillan. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763280.
‘Song Dong: A Pot of Boiling Water’. n.d. http://www.tate.org.uk/art/artworks/dong-a-pot-of-boiling-water-p80531.
Spackman, Helen. 2000. ‘Minding the Matter of Representation: Staging the Body (Politic)’. Contemporary Theatre Review 10 (3): 5–22. https://doi.org/10.1080/10486800008568593.
‘Study Room Guides - Live Art Development Agency’. n.d. http://www.thisisliveart.co.uk/resources/study-room/study-room-guides.
Wakefield, Nik. 2014. ‘Time-Specificity of Performance’. Choreographic Practices 5 (2): 183–97.
Ward, Frazer. 2006. ‘Alien Duration: Tehching Hsieh, 1978-99’. Art Journal 65 (3): 6–19. https://doi.org/10.1080/00043249.2006.10791212.
Wiles, David. 2014a. Theatre & Time. Palgrave Macmillan.
Wiles, David. 2014b. Theatre & Time. Palgrave Macmillan. Electronic resource. https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=4763677.
